A Language Of The Intrigued
This "video poet" often struggle to clarify intentions behind his work because he finds that language as a social construct and tool for communicating ideas can be limited, as well as limiting, and for the untranslatable syntax of images, moving or otherwise, language has always faltered and castrated multiple innate interpretation that could exist independent of description.
The “video poet” attempts to explain the works during discussions and articles; and it instead appears that he has taken away some essential mystery by naming elements of these works from those who are meant to fathom their own interpretative ideas independent of his own.
This tendency is exhibited once again when having to name the video poems themselves; the incongruous nature of imagery contrasted with fixed meanings.
Disrupted languages, inverted diegetic sounds and those unaltered atmospherics in certain works are also a form of negation of textual or verbal language to an extent, and are what draws the video poet’s attention to the raw nature of “first takes” and unsegregated sounds in materials used.
Not actual words in their true nature, but the sound of the words without linguistic intent, inscribing naïve narratives onto the images concerned, with an indirect simplicity that requires no formal understanding or translations, thus avoiding the pitfall of translating images to written or spoken words.
Mis-translated images, inversions of meanings traveling from one person to another, feelings and their descriptive words; all these are concerns that assail “the video poet’s” work and he therefore cannot say that he have a clear method of resolving them for the viewer of my video poems.
They might seem like self-indulgent provocations resulting from an alienated angst, but in essence they area reaction to intrigue, and awe, an attempt to encounter new meaning beyond language of words, but images.
These sequences of works with all their discreet components are used to suffocate whatever norms of rationalities; to unhinge intentionality in order to avoid interpretive inaccuracies and to subordinate language, visual, textual or spoken, leaving only their resonances and ephemeral character in each work.
His is a system of language dispensing of purposeful reality, with no correlation in a world emboldened by choices, language not as some positivist vehicle to sanitize the tragic but embracing the delirium of being.
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